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Le Collectif Arnait Video Productions Et Le Cinéma Engagé Des Femmes Inuits : Guérison Communautaire Et Mémoire Culturelle

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Le Collectif Arnait Video Productions Et Le Cinéma Engagé Des Femmes Inuits : Guérison Communautaire Et Mémoire Culturelle Le collectif Arnait Video Productions et le cinéma engagé des femmes inuits : Guérison communautaire et mémoire culturelle 36 Karine Bertrand Queen’s University De manière analogue à celle des Premières Nations1 situées plus au Sud, l’histoire de la colonisation des Inuit est caractérisée par la décimation des populations par les maladies infectieuses, l’assimilation linguistique et religieuse ainsi que par un génocide culturel récemment reconnu par les autorités canadiennes, suite à la pub- lication d’un rapport/enquête (Commission Vérité et Réconciliation, 2015) visant à sensibiliser la population eu égard aux sévices subis dans les pensionnats autoch- tones pendant plus de 70 ans. De même, l’influence marquée de la colonisation sur la structure familiale et sur les rapports hommes-femmes, à travers l’imposition d’un système patriarcal valorisant le domaine masculin au détriment de la femme, contribua au démentèlement d’un mode de pensée où le genre/sexe variait selon les normes sociales. Alors que la reconnaissance formelle des torts commis envers les Premiers Peuples se veut une première étape vers une réconciliation entre ces der- niers et la société canadienne, les communautés s’engagent de leur côté dans un long processus de guérison, utilisant pour ce faire des outils empruntés à la fois à la tradition (savoir ancestral, oralité, spiritualité, rituels, langage) et à la modernité (thérapies, engagement artistique, médiums contemporains). Se situant au coeur de ces démarches de réappropriation de leur culture, les femmes inuits travaillent bien souvent de l’intérieur pour retisser les liens intergénérationnels et familiaux, entre autres en transmettant aux plus jeunes générations des enseignements traditionnels et des leçons de vie adaptés au contexte contemporain. Canadian Review of Comparative Literature / Revue Canadienne de Littérature Comparée CRCL MARCH 2017 MARS RCLC 0319–051x/17/44.1/36 © Canadian Comparative Literature Association KARINE BERTRAND | LE COllECTIF ARNAIT VIDEO PRODUCTIONS Parmi les outils utilisés par les Autochtones pour communiquer leur savoir et cau- tériser les plaies d’une tentative d’assimilation dont les effets se font encore ressentir, le cinéma se présente comme un outil idéal du transfert de l’oralité, jouant un rôle analogue à celui du chaman/conteur inuit, c’est-à-dire un rôle de transmetteur, de guérisseur, de médiateur et de catalyseur. Ce rôle du cinéaste-chaman est d’ailleurs attribué à Zacharias Kunuk (Bertrand, Le cinéma des Premières Nations) qui sera le premier cinéaste à approfondir le sens de l’autoreprésentation autochtone « en trans- portant l’art millénaire de la tradition orale au cinéma, en utilisant les techniques propres au langage cinématographique afin de transposer à l’écran la magie instillée par la performance du chaman (magicien, guérisseur) et en filmant l’invisible, i.e. en filmant les relations de ce peuple avec les ancêtres décédés ainsi qu’avec les esprits tutélaires » (241-42). Depuis un peu plus de trois décennies, les cinéastes inuits utilisent ainsi la vidéog- raphie comme un outil politique et social qui participe à la réappropriation d’une culture traditionnelle ainsi qu’à l’ancrage de cette dernière dans la modernité. 37 L’autochtonisation2 du médium par les Inuits et la remédiation de la tradition orale à l’écran agissent comme autant de moyens favorisant la réconciliation intergénéra- tionnelle, la guérison individuelle et collective et la transmission d’un savoir-être et d’un savoir-faire3 millénaires à l’intérieur comme à l’extérieur des communautés. À cet égard, l’auteure Michelle Raheja, dans son ouvrage intitulé Reservation Reelism (2010) explique comment le style de production inuit et communautaire employé par Zacharias Kunuk (from Inuk point of view) assure la continuité des langages et des cultures tout en permettant au peuple inuit « d’exprimer leur réalités et défis avec leurs propres voix » (202). Dans la même veine, selon le cinéaste de Pond Inlet John Houston, l’utilisation du cinéma par différentes générations permet un rapproche- ment entre les ainés et les jeunes qui, voyant les images de leur culture traditionnelle à l’écran, sont plus enclins à dialoguer par la suite avec leurs ainés afin d’obtenir davantage de précisions sur leur héritage culturel (Bertrand, « Le cinéma inuit »). De manière plus concrète, le documentaire de Maurice Bulbulian, Chroniques de Nitinaht (1997), réalisé sur une période de six ans, met de l’avant l’instrumentalisation de l’audio-visuel et l’implication de la communauté dans le processus de guérison d’une communauté frappée par l’inceste, et où la caméra devient le médiateur d’une théra- pie particulière « qui vise non pas à guérir les individus, mais toute une communauté […] parce qu’il a été possible de faire le film de la laborieuse reconstitution du lien communautaire » (Froger 205). Enfin, la cinéaste autochtone Loretta Todd, dans une entrevue avec Carol Kalafatic, explique que le rôle d’un cinéaste autochtone est ana- logue à celui du conteur traditionnel, qui a pour mission de donner vie aux objets et symboles qui font partie de l’histoire autochtone, en rappelant, par l’utilisation du mouvement, de la lumière, des mots et des images, leur valeur spirituelle (Kalafatic 116). De cette façon, les cinéastes autochtones contribuent à la revivification de la culture pour la communauté qui se voit réunifiée à travers des images rassembleuses. Suivant cette trajectoire, le collectif Arnait Video Productions, une initiative de CRCL MARCH 2017 MARS RCLC la cinéaste Marie-Hélène Cousineau, qui regroupe des femmes inuits de la commu- nauté d’Igloolik, utilise la vidéo pour démontrer l’importance de la femme inuit dans le développement et la cohésion de l’unité sociale et familiale de l’Arctique (passé, présent et futur). Soulignant la spécificité culturelle des femmes d’Igloolik, ainsi que la portée universelle de questions reliées par exemple à la maternité, au pouvoir et au potentiel des femmes qui sont considérées comme des agents de changement sociétal participant à la transmission et au renouvellement de la connaissance traditionnelle, les cinéastes d’Arnait ont participé à des projets novateurs (telle que l’initiative Live from the Toundra) où les outils technologiques (Internet, blogues, capsules vidéos, radio, satellite) ont servis à établir des ponts entre les différentes communautés du Nord. De même, la sortie récente du long-métrage documentaire biographique Sol (2014) a contribué à remetttre à l’avant-plan certaines problématiques présentes dans les communautés, telles que le traitement du suicide, de la violence, de la justice et de la discrimination dans les régions arctiques. 38 Dans cette veine, nous souhaitons dans un premier temps démontrer, à travers une analyse du contenu des oeuvres documentaires produites par des réalisatrices inuits, comment le cinéma se présente à la fois comme un « bâton de parole », en donnant une voix aux femmes, et comme un médiateur, en favorisant l’écoute et l’échange entre les plus jeunes générations et les aînés, ainsi qu’entre les hommes et les femmes. Dans un second temps, nous examinerons la manière dont ces oeuvres se présentent comme des agents de changements communautaires et politiques en incitant les membres des communautés à se responsabiliser et à participer au devenir de leur peuple. Pour ce faire, nous aurons recours aux écrits de l’auteure Maori Linda Tuhiwai Smith, qui, dans son ouvrage sur les méthodologies autochtones (1999) présentent 25 projets de décolonisation4 contribuant à la réalisation de « la survie culturelle, de l’auto-détermination, de la guérison et de la justice sociale » (142). La colonisation de la femme inuit : Stratégies de résistances et pouvoirs de la parole Plusieurs chercheurs autochtones placent la femme au cœur de ce que l’historien Huron-Wendat Georges Sioui nomme le cercle sacré de la vie, ce dernier souten- ant la thèse selon la quelle le matriarcat aurait été généralement présent chez les populations autochtones préhistoriques, l’érosion de l’ordre matrilinéaire pouvant être attribuable au processus d’acculturation survenu au moment du contact avec les Blancs (22). Dans la même veine, la féministe et professeure de descendance Laguna-Pueblo Paula Allen-Gunn affirme que la plupart des sociétés autochtones traditionnelles étaient gynécocratiques,5 le pouvoir des femmes étant reconnu à travers l’ordre social, la tradition orale ainsi qu’à travers une spiritualité où les fonc- tions et attributs biologiques de la femme (matrice, sang menstruel, cycle lunaire, lait maternel) portaient une charge symbolique si puissante que de multiples pre- KARINE BERTRAND | LE COllECTIF ARNAIT VIDEO PRODUCTIONS scriptions et tabous étaient directement reliés à ce « pouvoir sacré féminin » (2). De même, Gunn-Allen précise qu’avec l’arrivée des missionnaires et sous l’influence du christianisme, plusieurs récits oraux présentant la femme comme étant au cœur du cercle de la vie (The Sacred Hoop) furent modifiés pour suivre la ligne de pensée patriarcale instaurée par les colonisateurs européens, les textes sacrés promus par l’Église relatant l’idée d’un Dieu décrit comme étant une entité masculine (15). Or, malgré cette intrusion de l’Église et les ravages qui découlèrent de l’assimilation et de l’évangélisation des Autochtones, la transmission secrète de textes millénaires par des conteurs et surtout par des conteuses ayant préservé le sens originel de ces récits racontés dans la langue de leurs ancêtres, assura la continuité de la tradition autochtone, ces histoires agissant comme des instruments sacrés de guérison pour les femmes autochtones qui, évoluant dans un contexte contemporain, peuvent encore s’identifier, via la tradition orale, à ce « sacré féminin » contenu dans les mythes et légendes : 39 The oral tradition is vital; it heals itself and the tribal web by adapting to the flow of the present while never relinquishing its connection to the past […] Certainly the modern American Indian woman bears slight resemblance to her forebears, but she is still a tribal being in her deepest being.
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